This booklet explores the effect of Keats on authors and artists from 1821 to the top of the 1st international battle. It examines the paintings of authors together with Shelley, Browning and Thomas corridor Caine, and artists Holman Hunt and Rossetti. The research additionally contains tributes to Keats by way of girls authors and artists comparable to Christina Rossetti and Jessie Marion King.

Gothic verse liberated the darkish aspect of Romantic and Victorian verse: its medievalism, depression and morbidity. a few poets meant basically to surprise or entertain, yet Gothic additionally liberated the artistic mind's eye and encouraged them to go into nerve-racking components of the psyche and to painting severe states of human realization.

The paintings of French author and essayist Maurice Blanchot (1907-2003) is absolutely one of the so much hard the 20 th century has to supply. modern debate in literature, philosophy, and politics has but to completely recognize its discreet yet enduring effect. bobbing up from a convention that came about in Oxford in 2009, this publication units itself an easy, if daunting, job: that of measuring the impression and responding to the problem of Blanchot’s paintings by way of addressing its engagement with the Romantic legacy, particularly (but not just) that of the Jena Romantics.

As a substitute for the dead (in the changed state of Daphne), the author is parading his grief: Keats’s loss crowns the living poet. Furthermore, the author is bestowed with the pine torch, or thyrsus, common to Bacchanalian rites. In this Dionysian guise, Shelley is contesting Adonis’s, and by inference Keats’s, mantle as the god of rebirth. 20 His divinity was manifest in the life that grew out of the earth in summer, was harvested in the autumn, died back in the winter and resurfaced in the spring.

38) – and envies the touch of the moon-goddess in a final expression of homoeroticism: Ah! thou hast young Endymion, Thou hast the lips that should be kissed! (41–2) The exclamation marks in these lines reveal frustration, a desperate desire to initiate physical contact with the hero: yet this suggests a Keats’s Posthumous Life of Elegy 37 more dominant role for Wilde than is evident in the poem. In ‘Adonais’, Shelley identifies himself with Narcissus while the subject functions as an effeminised complement.

Wilde’s persona in ‘Endymion’ is also abandoned by his partner and succumbs to a grief-stricken self-indulgence (‘self-indulgent’ Keats’s Posthumous Life of Elegy 39 being one of Ganymede’s traits, OED). As Keats’s Endymion is separated from his beloved for a substantial part of the narrative, so the intimacy Wilde desires is denied by a ‘veil of drifting mist’ that divides the speaker from his object (40). 55 The ‘grey and misty veil’ of Wilde’s ‘Endymion’ reappears in ‘The Garden of Eros’ and once again prevents the hoped-for union (93).